ROMANCING THE MACHINE | DANCING AT THE EDGE OF INTELLIGENCE

Adrian Guo Silver is a dramaturg, writer, and translator from Yiddish and Spanish. He has worked extensively with acclaimed choreographer and director Pontus Lidberg, creating works for Ballet du Grand Théâtre de Genève, Acosta Danza, and Danish Dance Theater, among others, as well as a feature length dance-drama film, Written on Water. He has also worked with the Bill T. Jones/Arnie Zane Company, Colleen Thomas, and Martha Clarke. He holds an MFA in Dramaturgy from Columbia University, where he is currently a Phd candidate in Theatre and Performance.

Alan Winslow is an award-winning creative technologist and educator based in Brooklyn, New York, with a passion for creating immersive interactive experiences that educate and spark conversation. He has alternated between editorial, commercial, and long-term, grant-funded, and public art projects. He currently serves as the Assistant Technical Director of NYU Tisch Collaborative Arts Program and Adjunct Professor teaching lens-based art. His work has been shown at prestigious institutions, including the Smithsonian American Art Museum, Photoville Brooklyn, Triennial of Photography Hamburg, and International Photography Festival Leiden.

Armon Naeini is a multimedia artist, creative technologist, and educator. His work navigates the paradox of embodiment and dissociation through the augmentation of self-image. Armon produces interactive installations, AR/XR experiences, real-time visuals, and experimental software to explore the relationship between identity and chaos. He is a graduate of NYU Tisch School of the Arts ITP, an art program focused on experimental expression using emerging technologies. Currently, Armon is a Professor at the School of Visual Arts teaching Code For Design where he teaches TouchDesigner. Armon has exhibited his work in Secret Riso Club, Meow Wolf Denver, Center for Performance Research, Verciverse SoHo, Sights & Sounds, and the Time Square Billboards. He is also a VJ and live performer, using custom-coded, real-time software to create interactive visuals and performances.

Brandon Powers is a creative director + choreographer who creates experiences across physical and virtual space. Blending his background in contemporary dance, theatre, and immersive technology, his work focuses on capturing liveness in the digital, building interdisciplinary communities, and shifting culture towards a more embodied future. His projects span technologies and forms incorporating AI, extended reality, and live performance including Queerskins: ARK (Venice International Film Festival, Cannes XR), Frankenstein AI (Sundance Film Festival), Duet (New York Live Arts), and Kinetic Diffusion (FilmGate Interactive, New Images). On TikTok, Brandon has grown a community of over 70,000 inviting audiences into the process of creating theatre and dance. He founded constellation, an immersive strategy and production studio building digital communities and multi-platform experiences for theatrical brands. Brandon is on staff at Musical Theatre Factory, where he leads MTFxR, supporting the development of XR musical experiences. He is a Lincoln Center Collider Fellow, Onassis ONX Studio member, NEW INC alum, and has spoken on the intersection of arts and technology across the world at TCG National Conference, Verizon’s 5G Lab, Lincoln Center and more.

Brian Brooks is a Guggenheim Fellow in Choreography and current MFA candidate at NYU’s Tisch School of the Arts. His New York City-based group, the Moving Company, has been presented by venues including The Joyce Theater, NY City Center, Jacob’s Pillow, and BAM’s Next Wave Festival. Recent projects include a Mellon Foundation Creative Artist Fellowship at the University of Washington, and three years as first-ever Choreographer in Residence at Chicago's Harris Theater for Music and Dance, creating dances for Hubbard Street Dance, Miami City Ballet, and others. Brooks has created multiple duet productions in which he performed alongside NYC Ballet Associate Artistic Director and former principal dancer Wendy Whelan, accompanied by the Grammy-nominated string quartet Brooklyn Rider. He has choreographed several off-Broadway productions including A Midsummer Night’s Dream (2013), directed by Julie Taymor, and Pericles (2016), directed by Trevor Nunn. In conjunction with his extensive teaching, he has created dances for schools including Princeton University, Rutgers University, Boston Conservatory, and The Juilliard School.

cari ann shim sham* is here to move things. Her art acts as a window to the soul, a mirror for reflection, a warm refuge for meditation, a generator for embodiment, and a sacred space for healing. She has a gazing practice that all of her art is built around, is obsessed with circles and circling, is an energy worker, a creative coder, creates inflatable empathy generators and makes generative dances and generative art. A work slow fix things AI developer, she developed an AI curator biased for equity, inclusion, and diversity, for the Museum of Wild and Newfangled Art’s 2021 exhibit This Show is Curated by a Machine which led to her current project dance prompts, a community developed AI choreographer biased for inclusive and accessible movement. As a member of the web3, creative coding, and Techspressionist communities her work is exhibited in museums and galleries, in the permanent collection of the Mud Foundation and minted on the Tezos and Ethereum blockchains. Making films, music videos, and video art since the 90s, she is a recipient of two Telly Awards with four films in the Routledge Performance Archive and the first video artist to redesign Rauschenberg's Shiner for Set & Reset, Reset by the Trisha Brown company. Recently featured in Dance Magazine for her long term collaboration with David Roussève as filmmaker and video artist, her live projection mapping and interactive video artwork is at the heart of the new feature documentary film about Loïe Fuller, Obsessed with Light (2023).

Carla Gannis is an American transmedia artist based in New York and a professor at NYU Tandon School of Engineering. Her art is characterized by a commitment to experimentation. Throughout her career, she has worked with an array of mediums and tools, including drawing, painting, video, interactivity, extended reality, and machine learning. Her multilayered narratives explore identity within an atomized and hyperreal 21st-century context – capturing the spirit of our rapidly shifting visual and technological times through blending historical art influences with contemporary digital semiotics and speculative fiction. Gannis’s work has been exhibited globally in exhibitions, screenings, and internet projects. Her most recent projects include “Networked Nature” at the Hunter Museum of American Art, Chattanooga, TN (2024); “wwwunderkammer” at the Halsey Institute of Contemporary Art, Charleston, SC (2023); and “Welcome to the wwwunderkammer” at the Pérez Art Museum Miami (2022). Her work has been featured in numerous publications, including The New York Times, Kunstforum, El PaÍs, ARTNews, The LA Times, among others. She is a Year 7 Alum of NEW INC, in the XR: Bodies in Space track, New York, NY.

Cecilie Waagner Falkenstrøm is an award-winning artist who has been pioneering the use of artificial intelligence (such as LLM, GPT) since 2016. Her works have been exhibited at Victoria and Albert Museum (V&A), Ars Electronica, The Kennedy Center, Wellcome Collection, and Copenhagen Contemporary. Notably, she created the first-ever AI and blockchain artwork in space aboard NASA’s part of the International Space Station, and created AI for the award winning theatre performances Centaur and SH4D0W. Her contributions to digital art have been recognized by major media outlets such as Forbes and the New York Times. Falkenstrøm has received numerous global awards, including the Lumen Prize for Digital Art in 2017 and 2021; an Honorary Mention from Prix Ars Electronica in 2023; and the TECHNE Award from the British Arts and Humanities Research Council. She studied Fine Art at University of the Arts London and Royal College of Art in London.

Charles Atlas is a pioneering figure in the creation of time-based visual art for five decades, extending the limits of media and forging new territory in a far-reaching range of genres, stylistic approaches, and techniques. Over the years he has made media/dance works, multi-channel video installations, feature-length documentaries, video art works for television, and live electronic performances. Throughout his career, he has consistently fostered collaborative relationships, working intimately with such artists and performers as Leigh Bowery, Michael Clark, Douglas Dunn, Marina Abramovic, Yvonne Rainer, Anohni, and most notably Merce Cunningham, for whom he served as filmmaker-in-residence for a decade from the early 1970s through 1983. Since 2003, Atlas has been interested in exploring different contexts that exploit the use of live video. Instant Fame (2003–06), consisted of a series of real-time video portraits of performers and artists created live in the gallery space. Recent live video/installations include: ‘The Pedestrians’, in collaboration with Mika Tajima at The South London Gallery (2011), and ‘Charles Atlas and Collaborators’ at the Tate Modern (2013), Tesseract (2017) in collaboration with Rashaun Mitchell & Silas Riener, and The Kitchen Follies (2018). Atlas has received a Guggenheim Fellowship, three “Bessie” (New York Dance and Performance) Awards, the Foundation for Contemporary Artʼs John Cage Award, 2016 USA Artists’ Fellowship, and the Special Mention Award at the Venice Biennale 2017.

Errol King is a Creative Technologist, Educator, and Wellness Coach whose path has always been guided by curiosity and mindfulness. He began his career leading communications and technology strategy as Director of New Media for 1199SEIU, the largest local union in the United States. Here he focused on building and deploying mobilization technologies for social and political action. Drawn to the maker movement, Errol then co-founded Hidden Level Games—an indie studio empowering young people to create and share digital games globally. This work led him to teach game design and programming around the world, where he discovered the profound impact that community-based creativity can have on personal growth. Here he developed a first of kind coding platform that was used by many youth serving organizations including Black Girls Code, Boys and Girls Club, Cornell K-12 and more. During nearly a decade at Google, Errol developed pioneering education initiatives like Code Next and Tech Exchange, while spearheading AI-driven creative projects, including The Search for Belonging with Jon A. Powell, Body Movement Language with Bill T. Jones and TextFX with Lupe Fiasco. It was here at Google’s Creative Lab that he honed his love of combining creative technologies with collective envisioning and problem solving. Since leaving Google he has transitioned to AI consulting, education and wellness coaching. Errol remains committed to bridging technology, creativity, and spirituality to foster healing and collective transformation.

JILL JOHNSON is a dancer, choreographer, educator, director, stager, and consultant. She has danced in over 60 tours on five continents, was a principal dancer with William Forsythe’s Frankfurt Ballet and Director of Dance at Harvard University, where she founded the Harvard Dance Project. A key collaborator in developing Forsythe’s choreographic canon and methodologies, Ms. Johnson has staged Forsythe’s works internationally, including for American Ballet Theater, Batsheva Dance Company La Scala, Netherlands Dance Theater, Paris Opera Ballet, and San Francisco Ballet. She garnered critical acclaim as a featured performer and collaborator in Forsythe’s A Quiet Evening of Dance, performing in 89 performances of the production on an international tour. Ms. Johnson’s artist residencies include those at Baryshnikov Arts Center, Columbia University, The Juilliard School, Princeton University, The New School, and New York University. Notable collaborators include Diane Paulus, Mikhail Baryshnikov, V (Eve Ensler), and the late Ryuichi Sakamoto. She has taught master classes at the Ailey School, Edinburgh Festival, Harvard’s Graduate School of Design, Yale University, and Zurich University of the Arts, among others. She is a founding collaborator of The Movement Invention Project in NYC and has moderated public talks at the Onassis Cultural Center, Athens, Institute of Contemporary Art, Boston, and the Radcliffe Institute. She choreographs for the stage, screen, and multimedia platforms, including for the American Repertory Theater, Cedar Lake Contemporary Ballet, Los Angeles Dance Project, PBS’s Poetry in America, Rover UK, The Louvre Museum, Qatar Museums, and The Getty MuseumPST ART. Her recent work Analogue for Rambert received critical acclaim and was named one of the top five dance productions in the UK in 2024 by The Stage. She is a Senior Fellow at the Collegium Helveticum, Swiss Institute for Advanced Research in Zurich, researching sustainable frameworks for artists. Ms. Johnson is based in Los Angeles.

Katherine Helen Fisher is a multi-hyphenate dance artist and Emmy Award-nominated film director. Her work explores the intersection of performance and technology, creating participatory installations that center agency, empowerment, and desire while imagining radical, techno-feminist futures. Her recent work includes an interactive performance using real-time generative Al and audience inputs to critically examine identity and embodiment in technologically mediated environments. She draws from a distinguished performance history that includes the Lucinda Childs Dance Company, the Merce Cunningham Trust, and the Philip Glass opera Einstein on the Beach. Fisher's work has been presented by Judson Church, Danspace Project, The REDCAT, Human Resources, The Barnard Movement Lab, Brown Arts Institute and PBS. She is a co-founder of Safety Third, a digital media studio through which she has directed numerous projects. These include an experimental dance documentary created with the disabled dance ensemble Kinetic Light. Her movement direction portfolio spans collaborations with renowned brands such as the fashion house Hermès, as well as work for acclaimed artists like Rufus Wainwright and Radiohead. She is a joint recipient of a 2024 Google Artist + Machine Intelligence Faculty Research Award in support of Lamentation: Dancing the Archive, an immersive installation reimagining Martha Graham's iconic 1930 work, Lamentation. Fisher is currently a Visiting Assistant Arts Professor at NYU's Tisch School of the Arts. She is curating Hyperreal Futures: Choreographing the Algorithmic Body, an interactive exhibition where bodies blend with algorithmic interfaces which will open the exhibition space at new Doris Duke Theater inaugural season at Jacob's Pillow Dance Festival in the summer of 2025

Lisa Jamhoury is a Lebanese-American movement artist and programmer creating embodied, computational experiences. Rooted in contemporary circus and mindfulness, her practice includes interactive performances, installations, and websites that encourage a consensual, complementary approach to human physicality. Lisa is a member at Onassis ONX and NEW INC, the New Museum’s incubator for art, design and technology. She teaches at New York University’s Interactive Telecommunications Program (ITP), where she completed her masters degree. Earlier in her career, Lisa worked at Adobe as a senior designer for machine intelligence, where she integrated AI/ML into creative tools and workflows.

Marc Downie is surely a new media artist and experimental filmmaker, but over the years he has also seemed to be a physicist (at University of Cambridge) and an AI researcher (at MIT's Media Lab). Downie’s complex algorithmic forms are inspired by natural systems and critique of dominant digital paradigms; his interactive installations, compositions, and projections have presented advances in the fields of interactive music, machine learning, and computer graphics; and his ongoing collaborations extend artistic tools to new situations, including alternate reality games, carbon-negative housing and infectious disease mitigation. He is currently an Associate Professor of Practice in the Arts at the University of Chicago. With OpenEndedGroup, he has worked in a broad variety of media and venues: making art for façade, gallery, dance, stage, cinema, print, and virtual reality. These works respond to an ever expanding range of materials - drawing, film, motion capture, photography, music, and architecture. OpenEndedGroup works frequently combine three signature elements: non-photorealistic 3D rendering; the incorporation of body movement by motion-capture and other means; and the autonomy of artworks directed or assisted by artificial intelligence. OpenEndedGroup’s 3D films and installations have premiered at MoMA, Lincoln Center, the Berlin Film Festival, the Rome Film Festival, the Isabella Stewart Gardner Museum, Detroit Institute for the Arts, and the Hayward Gallery; eight of their stereoscopic digital films were the first of their kind to enter MoMA’s permanent collection. Their VR works have premiered at the Pompidou Centre and Jacobs Pillow.

A professor of history and philosophy at NYU's Gallatin School of Individualized Study, Matthew Stanley teaches and researches the history and philosophy of science. He holds degrees in astronomy, religion, physics, and the history of science and is interested in the connections between science and the wider culture. He is the author of Einstein's War: How Relativity Triumphed Amid the Vicious Nationalism of World War I (Dutton, 2019), the story of how pacifism and friendship led to a scientific revolution. He has also written Practical Mystic: Religion, Science, and A. S. Eddington (Chicago 2007) and Huxley's Church and Maxwell's Demon (Chicago 2014), which explore the complex relationships between science and religion in history. His current project is a history of scientific predictions of the end of the world. Stanley has also worked with a nationwide National Science Foundation-funded effort to use the humanities to improve science education in the college classroom. He has held fellowships at the Institute for Advanced Study, the British Academy, and the Max Planck Institute. He currently runs the New York City History of Science Working Group. In his spare time, he co-hosts the science podcast What the If? Stanley was awarded the 2019 NYU Distinguished Teaching Award and the 2014-2015 Gallatin Dean's Award for Excellence in Teaching.

Michael D Dinwiddie is an award-winning playwright and composer whose works have been produced in New York, regional and educational theatre. A professor of dramatic writing at NYU’s Gallatin School of Individualized Study, he was awarded the NYU Distinguished Teaching Medal in 2005. His courses include Poets in Protest: Footsteps to Hip Hop; Motown Matrix: Issues of Gender and Identity in “The Sound of Young America”; Migration and American Culture; Dramatizing History; James Reese Europe and American Music; Sissle, Blake and the Minstrel Tradition, and Cultural Memory and Resistance. Michael’s archival research led to the naming of the African Grove Theatre on NYU’s campus, to commemorate the 1821 playhouse that was the first Black-owned theatre in the United States. Michael is president of the August Wilson Society and serves on the boards of the College of Fellows of the American Theatre, The Richard Hunt Legacy Foundation, NewFest LGBTQ+ Film and Media, the Center for the Study of Africa and the African Diaspora (CSAAD), and the Black Theatre Network. In 2024, he was presented the AUDELCO Pioneer Award for his contributions to African American Theatre.

Mimi Yin is an artist and educator. Her work experiments with unconventional modes of interaction in performance and participatory experiences and computational approaches to improvisation and composition. Her work has been presented on Governors Island, Yale University Art Gallery, Gibney Dance, Danspace in St. Mark’s Church, MANA Contemporary, Culture Hub, NY Live Arts among others. Her research into choreographic practice and interactive media has been supported by an NEA Art Works grant, Google AMI and The NYU Catalyst Prize. She has held residencies at The Movement Lab at Barnard College, The Center for Ballet and The Arts at NYU, MaxMachina. Mimi is an Assistant Arts Professor at NYU’s Interactive Telecommunications Program. Works include: NUUM, a collective of artists committed to a multi-disciplinary approach to creating performance work, and Doppelgänger, created by: NiNi Dongnier, Tiri Kananuruk, Nuntinee Tansrisakul, Mimi Yin and Yuguang Zhang.

NiNi Dongnier (b. Inner Mongolia, China) is a New York-based choreographer and visual artist. She delves deeply into questions about form, faith, constancy, migration, and life experience through explorations of movement, visual art, garment, and technological interventions. She produces choreographic performance, moving images, and painting. Dongnier has held performances and exhibitions at The Watermill Center, New York Live Arts, Movement Research, Mana Contemporary, La MaMa | CultureHub, Jonah Bokaer Arts Foundation, Shanghai Ming Contemporary Art Museum, Aranya Art Center, G Museum, A4 Art Museum, and Shanghai International Dance Center Theater, among others. Dongnier is the recipient of numerous residencies and awards, including the Skowhegan School of Painting and Sculpture, Monira Foundation Performance Residency, The Watermill Center Artist-in-Residency, La MaMa | CultureHub Artist-in-Residency, China Dance Lotus Award Nominations, and with the NUUM Collective Google Artist + Machine Intelligence Research Awards. She has held positions as an assistant professor at the School for the Contemporary Arts at Simon Fraser University and the Beijing Dance Academy, as a guest artist in the Barnard College Dance Department, and as an adjunct assistant professor at CUNY Hunter College Dance Department. Dongnier received her BFA from the Beijing Dance Academy and her MFA from New York University. She is currently the curator at the Movement Lab of Barnard College, Columbia University.

Pamela Tatge is the Executive & Artistic Director of Jacob’s Pillow, an international dance center anchored by a summer Festival, professional School, Archives and engagement programs located in Western Massachusetts. She spearheaded a plan that enabled the Pillow to become a year-round center for dance research and development, including creating the Pillow Lab, an incubator of new work; enhancing the Pillow’s community engagement programs; and renewing campus facilities including the renovation of the historic Ted Shawn Theatre. Following the destruction of the Doris Duke Theatre due to a tragic fire, Tatge is leading a campaign to build a new theater for the future of dance and a digital platform that provides access to the Pillow’s programs to audiences around the world. Prior to the Pillow, Tatge served as the Director of the Center for the Arts at Wesleyan University in Middletown, CT for 17 years and a decade as the Director of Development at Long Wharf Theater in New Haven, CT. Tatge is the recipient of the Association of Performing Arts Presenters’ 2010 William Dawson Award for Programmatic Excellence and the 2025 Fan Taylor Award for distinguished service in the field of presenting. In 2022, she was awarded the Lifetime Achievement Award by the Jose Limón Dance Foundation. She is also the recipient of the 2024 NAACP Berkshires Dunham Freedom Fund Award 2024, “An activist for Peace, Justice, Equity, and Equality in the Art of Dance.” Tatge holds a B.A. in History and an MALS from Wesleyan University.

Paul Kaiser is a digital artist and writer. Together with his with OpenEndedGroup colleague Marc Downie (and formerly with Shelley Eshkar), he has created a significant body of work in a broad variety of media and venues, making art for façade, gallery, dance, stage, cinema, print, and VR — crossing the borders of many disciplines along the way. A few honors have rewarded such work. In 1996, Kaiser was the first digital artist to receive a Guggenheim Fellowship, in 1999 a Bessie Award, and in 2008 he received the John Cage Award from the Foundation for Contemporary Arts. In 2015, the Museum of Modern Art acquired eight of OpenEndedGroup’s then-recent 3D films for its permanent collection.

Stacy Matthew Spence is a New York City based choreographer, dancer, and teacher. Stacyʼs choreography has been commissioned by The High Line with visual artist Ronny Quevedo, Danspace Project, The New School, Ishmael Houston-Jones’s Platform 2012: Parallels for Danspace Project, and Tisch School of the Arts. Stacy has performed in co/motion directed by Margaret Peak as part of Jason Moranʼs Whitney Biennial: Bleed; in Deborah Hayʼs Blues as part of Ralph Lemonʼs Some Sweet Day at The Museum of Modern Art NY; and Joanna Kotze’s BIG BEATS. His most recent work I am, here; Here with us; Where we find ourselves, premiered at Danspace in March 2024 and was recently remounted for Live Artery: New York Live Arts in collaboration with Danspace Project January 2025. He is currently working on a film version of I am, here in collaboration with videographer Iki Nakagawa. Stacy danced with the Trisha Brown Dance Company from 1997-2006, was Education Director 2018-2021 and continues collaborating with the company through teaching and re-staging Brown's work. He has also taught nationally and internationally at institutions such as Juilliard, Barnard College, Tisch School of the Arts, Manhattan Marymount College, London Contemporary Dance School, Centre National de Danse Contemporaine, and Movement Research. Stacy is currently an instructor at The New School in New York City.

Hailed by the Financial Times as “One of the world’s foremost thinkers on the intersection of dance and emerging technologies,” Sydney’s choreography has been performed at such venues as The Kennedy Center and Jacob’s Pillow. He has lectured at the University of Cambridge, Yale, Mozilla and the Boston Dynamics AI Institute, and consulted for The National Ballet of Canada, Bloomberg Philanthropies, Hasbro, and The University of Southern California, among others. His work has been supported by the Alfred P. Sloan Foundation, Doris Duke Charitable Foundation, and a Creative Capital “Wild Futures” Award. He is a Senior Affiliate of metaLAB at Harvard University, a frequent contributor to WIRED and Dance Magazine, the Founder of the Conference for Research on Choreographic Interfaces and Host of the podcast, “Dances with Robots.” Sydney serves as the Faculty Director of the Brown Arts Institute, is an Associate Professor of Theatre Arts and Performance Studies, and was the first choreographer at Brown University to receive tenure.

Vicky Shick has been involved in the NYC downtown dance community since the late 1970’s, collaborating with many performers, artists, and sound designers. For three years she was a member of the Sara Rudner Performance Ensemble (76-79) and for six years (80-86) performed with the Trisha Brown Company. Other choreographers with whom she has worked include Yoshiko Chuma, Meg Harper, Eva Karczag, Jon Kinzel, Lisa Kraus, Risa Jaroslow, Margy Jenkins, Juliette Mapp, Jodi Melnick, Wendy Perron, Stephen Petronio, Susan Rethorst and Leslie Satin. She continues her relationship with the Trisha Brown Company and has staged several of Brown’s pieces. In her own choreography she has collaborated with visual and sound artists Seline Baumgartner, Elise Kermani, Barbara Kilpatrick, Jon Kinzel and James Lo. She has taught internationally including in her home town, Budapest and has created student pieces at several universities, most recently at Yale and the New School. In the NYC area, she teaches mostly at Movement Research, for the Trisha Brown Company, and for 15 years at Hunter College. She was a two-time Movement Research Artist-in-Residence, a DiP grantee at Gibney Dance Center, a two-time Bessie recipient, a grant recipient from the Foundation for Contemporary Arts, and a Guggenheim Fellow.

Wendy Perron is a dancer/choreographer turned writer/educator/historian/curator. She danced with the Trisha Brown Company in the 1970s and choreographed more than forty works for her own company. She has written for the New York Times, the Village Voice, vanityfair.com, SoHo Weekly News, journals in Europe and China, Dance Index, and Dance Magazine, where she was Editor in Chief from 2004 to 2013. She has taught at Bennington College, Princeton, the Purchase College Conservatory, and NYU Tisch School of the Arts. She founded, directed, and produced the Bennington College Judson Project, which included an internationally touring photo exhibit and an evening of Judson Dance Theater reconstructions at Danspace in NYC. In 2011 the New York Foundation for the Arts inducted her into its first Hall of Fame. Her second book, The Grand Union: Accidental Anarchists of Downtown Dance, 1970-1976 (2020), fills a gap in dance history. The NY Public Library for the Performing Arts’ lecture series “The Dance Historian Is In” has presented Wendy four times on widely different subjects. She has contributed essays to several exhibition catalogs, including the Getty’s current exhibit “Sensing the Future: Experiments in Art and Technology (E.A.T.).” Currently, Wendy teaches dance history at Juilliard, performs with Yoshiko Chuma and the School of Hard Knocks, and serves as editor at large for Dance Magazine.

Xin Ying, dancer and choreographer, MFA candidate, Dance Magazine cover subject, and a mother, joined the Martha Graham Company in 2011 and performs many of Graham’s own roles, including Herodiade, Errand into the Maze, Chronicle, Cave of the Heart, and others. Her performance as The Chosen One in Rite of Spring was noted as “transcendent and heroic” by the New York Times. She has also been featured in works created for the Graham Company by contemporary choreographers including Nacho Duato, Annie-B Parson, and Hofesh Shechter. Her posts of her improvisions have garnered attention across major social media and press platforms, and her growing resume as a collaborator and choreographer includes commissions from Co.Lab Dance, Ballet Arkansas, Art Bath, and 92NY for its 90th year celebration. She also has assisted Janet Eilber on creative projects including The Feast with the Long Beach opera. While completing her MFA at NYU, Xin has created a GPT for the Graham Company, MarthaBot, as well as Lamentation: Dancing the Archive, a project using volumetric film and AR tracking technology, set to premiere at Jacob’s Pillow in 2025. Letter to Nobody is a collaboration with media that allows her to dance with Martha Graham, and is receiving its world premiere this season at The Joyce.

Yuguang (YG) Zhang is a New York-based new media / AI artist, machine learning technologist, and a member of multidisciplinary artist collective NUUM. He is also an adjunct professor at New York University's Interactive Telecommunications Program (ITP) where he teaches Generative AI. His current practice, which incorporates interactive media, installation, and live performance, explores the connections we make with the ubiquitous AI systems embedded around us, the surprises and struggles we have when we (partially) surrender our authorship to intelligent algorithms, and the cultural & ethical shifts that come along in our society when we’re overwhelmed by such “creative” AIs. He’s a recipient of a number of internationally recognized new media arts awards, such as the S+T+ARTS S2S award, Re:Humanism AI Art Prize, Google AMI (Artist+Machine Intelligence) Research Award, and National Endowment for the Arts (NEA) Grant. His works have been showcased at MAXXI - National Museum of XXI Century Arts (Italy), Némo Biennial of Digital Arts (France), CVPR, NeurIPS, ML x Art, NYC Media Lab, New Inc., CultureHub, Currents New Media Festival, Movement Research, The Center at West Park, Processing Foundation, Brown Arts Initiative at Brown University, Re-Work Deep Learning Summit, Cycling ‘74 Expo (USA), Beijing Times Art Museum, B·O·N·D International Virtual Live Performance Festival (China), and more.